(Needs to be a lower case F) |
|||
Line 15: | Line 15: | ||
{{Nav-Storyline}} |
{{Nav-Storyline}} |
||
+ | [[Category:Lists]] |
||
+ | [[Category:Analysis]] |
||
+ | [[Category:Storyline]] |
Revision as of 04:11, 21 July 2010
This article has been nominated for renaming. It has been suggested that this article be renamed to Non-centric flashbacks - Discuss |
While most episodes of Lost feature flashbacks, flash-forwards or flash-sideways episodes focusing on one character or a couple, some episodes feature non-centric flashbacks, where a character has a flashback but is not the primary focus of the episode.
A clear example of a non-centric flashback is the episode "Dave", in which Hurley had flashbacks to his time at Santa Rosa Mental Institute. At the end of the episode, Libby has one flashback from her perspective that reveals that she was also at Santa Rosa. Libby was not the episode's centric character, and thus had a non-centric flashback.
Instances of non-centric flashbacks
- The end of "Exodus, Part 2" featured a flashback to the survivors of Oceanic 815 on the plane before its departure. This flashback was considered non-centric for any character who did not have a flashback in either "Exodus, Part 1" or "Exodus, Part 2", namely, Sayid, Claire and Boone
- "The Other 48 Days" does not have a centric character, but clearly focuses on Ana Lucia, Eko, Libby Bernard and Cindy.
- As mentioned above, Libby has a non-centric flashback at the end of "Dave".
- "A Tale of Two Cities" opens with a flashback from the perspective of Juliet. The rest of the episode features flashbacks from Jack.
- "Greatest Hits" has a brief flashback, partially from the perspective of Alex Rousseau, and recounted by Karl.
- "Cabin Fever" opened with a flashback from the perspective of Emily Locke, and, at the end of the scene, she gives birth to John Locke, who takes over as the centric character for the remainder of the episode.
- "Ab Aeterno" opens with a flashback from the perspective of Ilana, features a long centric flashback from Richard, and ends with a flashback from the perspective of the Man in Black.
- "Everybody Loves Hugo" was primarily Hurley-centric, but featured a flash-forward from the perspective of Desmond, and of Locke.